← Statement

Recognized August 17, 2026

The window/painting ambiguity in Self Portrait 1994 — an opening and a painted depiction of the same view, alternating down a curved hallway, distinguishable only by the window's cut edge versus the painting's raised frame — is a quiet, Magritte-derived device arrived at while reading Plato's cave, Berkeley, and Kant at twenty-one. It resurfaces over a decade later as structural method in the Digital City Series and Megacities, where composited, blurred scenes of real places read as real until closer looking reveals the seams. The artist names this operation 'the blur became the art': present as confession in 1994, matured into disguise once the technical means existed at scale.